Those of you who’ve met me know I am a champion for experiencing the premiere of a new Cirque du Soleil show amongst the hometown crowd. For fans of the Cirque, there’s no substitute for being in the stands with a couple-thousand Québécois, clapping and stomping to the show’s beat – whether it be lounge-fusion, organ-fusion, Indian-fusion, rock-fusion, insect-fusion or Native American-fusion – and having a grand time together. It’s a magical experience you can get nowhere else but in Cirque’s hometown.
My first experience with thus euphoria came in 2002 for Varekai, continued in 2005 for Corteo, 2007 for Koozå and 2009 for OVO. And for the fifth premiere in a row now I’ve had the privilege of experiencing the awesomeness of premiere excitement with TOTEM.
But occasionally there’s a miss-step.
Varekai, Corteo and Koozå were well received by the hometown crowd (how about standing ovations DURING the performance?); OVO not so much. Corteo personally for me was not a particularly good premiere, especially after coming off that spectacular Russian Swings ending to Varekai, but the crowd enjoyed it. OVO fared much, much worse by both me and the crowd I saw it with; in fact, the response was so tepid I was sure Cirque had its first bona-fide flop on its hands!
Subsequent viewings of both Corteo and OVO (it seems the third time is always the charm) a little more than a year after premiere turned my view-point around though. So even if I find a show is a little too rough around the edges at premiere it’s sure to engage me once it has time to stretch its legs, as it were.
So, how does TOTEM fare?
TOTEM = WOW + WTF all rolled into one neat package.
Using a number of materials currently available – press releases on staging, costuming, projection, and acts and characters – coupled with the show’s program book and my own comments and opinions, I endeavor now to take you through what is the Odyssey of the Human Species: TOTEM.
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Like a magical cauldron bubbling, with scenes from the story of human evolution linked together in a chain, Cirque du Soleil’s TOTEM (pronounced Toe-TEM) traces the fantastic journey of the human species from the beginnings of organic life, to its original amphibian state in Earth’s primordial soup, to the foundations of science, to the realization of Man’s dream of defying Earth’s gravity and taking flight.
The themes of evolution and the search for balance are closely woven together throughout the show and illustrate – in a multidimensional visual and acrobatic language – the evolutionary journey of species, encompassing all of the potential we carry within ourselves.
Creation myths from all walks of life act as a springboard for exploring the birth and evolution of Man – like an echo of the great questions of life – through various esoteric interpretations. Somewhere between science and legend, they say, TOTEM is about life, exploring the ties that bind Man to other species, his dreams and is infinite potential. Thus, this show pays tribute to the infinite imagination of Man and the beauty of the world in balance between reason and excess.
TOTEM depicts a world peopled by archetypal characters, all of who witness and act out in their own way the perennial existential questions of life. Neanderthals, Cro-Magnons, primates and men in suits set out on their evolutional quest for knowledge. This interpretation of evolution is the line that runs through the show. In the course of his journey, Man aspires to reach the stars.
Closely related to the notions of lineage and belonging to a group, the word TOTEM suggests that we all share the same roots, the idea of the order of species. We carry within our bodies the potential of all species, all the way to our desire to fly – like the thunderbird at the top of the totem pole. And in that way “Totemism” refers to the animal in Man. It contains the very idea of evolution; our bodies are living exemplars of it, because our species carry traces of all species. Is it coincidence that this word, with the same spelling in many languages, sounds exactly like the Latin “Totum”, which means “all” or “the whole?”
Say what? Yeah, that’s the “WTF” part.
But it works, it really does.
The cast of TOTEM, comprising 52 performing artists from 19 countries, takes us through Cirque du Soleil’s concept of “Totemism” from the edge of a reed lined-marshland on what appears at first glance to be nothing more than a quaint little island. But this island (the stage) is an organic visual environment that can become a spring, a swamp, a volcano, a lake, a lava flow, a mountain range, an ocean and even a star-filled sky all through the magic of projection (it has to be seen to be believed!)
The island upon which the show’s characters inhabit evokes the shape of a giant turtle – an animal that, in many creation myths still prevalent in legends and oral traditions today (particularly in the Far East, Africa and North America), carries the weight of the world on its shoulder. The turtle is a symbol of stability, embodying the virtues of security, perseverance and self-confidence we nurture most. In nearly every ancient civilization the world over, the turtle has been a symbol of wisdom and longevity.
And thus it is a perfect stage upon which to showcase the tales of human evolution.
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As TOTEM begins, life is brought to the primordial soups of the developing planet Earth, seeded by a dazzling ball of energy from the starry sky.
Personified by “The Crystal Man”, the show’s poster character who symbolizes the universal force of life; he is the harbinger of said existence, sparking the evolution of Human life on Earth. His is a character tough to miss – his dazzling costume is literally covered in thousands of small mirrors and crystals (about 4,500 reflective components in all) to create that proverbial fireball that seeded our world, giving way to twelve acts and performances that exemplify the evolution of mankind.
BARS (CARAPACE)
In the opening scene, the life-less dried-up turtle shell is whisked away to reveal the world of primordial beings, an effervescent community of amphibians and fish that live beneath its carapace. As a new world is revealed to them, they burst into play – launching themselves into a parallel bars/fast-track number reminiscent in many ways to Tournik from Corteo. With artists embodying frogs launching themselves into the air from the power-track and leaping from one bar to the next, they crisscross in mid-air with just inches to spare!
The acrobatic number is quite pleasing and technically adept; however, the artist’s costumes here seem to steal the show for me. Their patterns and colors come from real fish and amphibian species found on Earth today, including the most poisonous frog in the Amazon jungle, the Dart Frog. Textures of the fabrics are also a close match to the skin of these animals making the metamorphosis complete and a real eye catching experience from which to begin the show.
HOOPS DANCER (PART 1)
Using hoops to create static and dynamic shapes evoking various animal forms (such as a crocodile and a falcon) and other intrinsic images, an Amerindian artist performs a narrative ritual dance evoking the endless circle of life. Inspired by traditional ceremonial clothing of a number of North American Indian tribes (rather than an accurate portrayal of any one culture), the artist is able to incorporate all Native American tribes and then by extension the entirety of Humanity within that Circle of Life. Unfortunately his pleasing rhythmic dance is all too short; he’ll make a return in the second-half of the show though.
RINGS TRIO
Bollywood-inspired music accompanies two men in this number as they compete against each other on two sets of gymnastic rings with the hopes of impressing a pretty woman lounging nearby with their sheer physical strength and superb physiques. That is until she shows them how it’s done! Through a routine of pikes, flying dislocates, flanges and flying crosses typically found in a gymnastics competition, they take to the skies above the island, now a summer beach (complete with projected sand and waves), to showcase just how strong the Human body has become.
Of a number of “WTF” moments I had throughout the performance, this is the first “image” that immediately seemed completely out of place. The elaborate costuming and staging present through the show’s reveal, the Bars and Hoops Dancer numbers, dropped so suddenly it was jarring. Although all three artists are capable and their talents are quite well received throughout the number, its “drop-in-like” placement and its lack of presentation make it one of the least pleasing routines in the entire show, in my opinion, of course.
UNICYCLES AND BOWLS
The abundance of autumn falls upon us next, represented by the warm browns of harvest. Five unicyclists come to the island to juggle metal bowls in an astounding display of agility, balance, synchronized control and physical grace. They toss the bowls with their feet – sometimes over their shoulders – and catch them on their heads without using their hands!
Details in the costumes of the five unicyclists help show this change. Although their stylized tutus transform them into flirty ballerinas, each unicyclist has her own look. The base costumes are printed in earth tones featuring seed pods, flowers, trees and leaves with small details sewn onto them, such as bolts, screws, feathers, and insects in an array of patterns to keep the spark of individualism.
FOOT JUGGLING (CRYSTAL LADIES)
Two Crystal Ladies emerge from the fiery bowels of the earth to evoke the creation of the world and the beauty of minerals. Wearing sparkling costumes that mirror the Crystal Man (each is adorned with 3,500 crystals and the two headdresses are each encrusted with a further 1,000), the artists spin squares of glittering material on their hands and feet before coming together to create a dazzling display of coordinated high-speed motion.
Foot juggling, like the unicyclists that came before, takes its cue from the Chinese circus. The discipline has been presented in past Cirque du Soleil creations, most notably in Nouvelle Expérience and Dralion, to great success; however, the presentation here is one of the most unique I have experienced by Cirque. A high-powered blue laser beam accompanies the performance, bouncing off the over 4,000 reflective surfaces of “The Crystal Man” (who hangs expectantly over the two ladies throughout their routine) and the ladies themselves as they juggle and toss their carpets from one to the other.
Although the routine is of very high caliber, I found it impossible to get past the inclusion of the blue laser beam (it will be interesting to see if, for safety reasons, the beam is used throughout Europe and later the United States), or the eclectic design of their costume (especially that of the flat-topped headdress which only served to implant the image of Grace Jones firmly in my head.) Yeah, it was another “WTF” moment.
We get our real first good glimpse of the “Scorpion Bridge” during their routine. The “Scorpion Bridge,” which serves as a mobile platform connecting the marsh to the scenes features variable geometry allowing it to adapt to each tableau. Built of steel and weighing 10,000 pounds, its eight powerful mineral oil hydraulic motors allow it to rise, descend, extend, retract and curl in on itself like a scorpion’s tail (hence its name). Its reflective surfaces, which shine line mirrors, are made of stainless steel plates. It’s truly an impressive piece of stage equipment.
PERCHES
An image of the evolution of man – from primates to Neanderthals to Cro-Magnons to modern man – comes to glorious life before it’s suddenly thrown topsy-turvy. Ten businessmen trying to reach the highest peaks execute a number that requires extreme strength and flawless teamwork. The porters on the ground hold long metal perches while the agile acrobats climb almost to the cupola of the big top to spin, tumble and flip about trying fitfully to reach the heavens.
Personally speaking, for me this was one of the weakest numbers of the first half of the show. Much like the Rings Trio, where the skill does not come into question, it’s the overall presentation that sorely lacks here. The costumes for each of the porters look as if they were gotten off a store clothing rack – a pair of plain black pants with a tiger-striped shirt. Really? Really, really (says donkey), and much like the Rings Trio costumes and scene, completely jarring.
INTERMISSION
DEVIL STICKS
The Tracker, an environmentally conscious friend of the animals, appears now as a virile toreador spinning his Devil Sticks to a sizzling flamenco-inspired beat. Although he’s normally seen guiding “The Scientist” in his explorations of discovery, he becomes angered by the thoughtless, polluting actions of a clown and transforms before our eyes to enact a certain instinctive punishment, nature style.
Devil Sticks, for those unawares, are made up of three pieces – the baton and two control sticks. The baton is usually about 60-120 centimeters (2 to 4 feet) long and the control sticks generally 30-50 centimeters (or about 1 – 2 feet) long. One uses the control sticks to manipulate (or juggle) the baton and do so without dropping any of the pieces. It’s an interesting, if only a juvenile equilibristic display.
FIXED TRAPEZE DUO
Like two lovebirds, a young man and woman tease, play and sulk in an innocent game of seduction accompanied by the soft rolls of ocean waves. After spilling onto the island in an inflatable raft, they eventually intertwine their bodies in a lighthearted vertical dance of fresh, unusual movements and lifts using nothing but a trapeze bar, a hand, and their feet.
The presentation is simple, the music light, and the costuming fair, but the image and scene that follows is simply one of joy. Kudos to Cirque du Soleil for having the gumption to include a “not so serious act” minus the chickens (re: Corteo) that works on all levels of emotions. For me, this number is easily one the finest of the entire show in terms of content (the unicycle girls have to be the best overall).
A WOW moment.
MANIPULATION
In this number: “The Scientist”, a Darwineque explorer who tottles throughout the various scenes, returns to his advanced laboratory to begin experimenting on new theories he’s discovered. He represents reason and the quest to understand the universe in ways that can be quantified, measured and put into tiny little boxes. As such his “laboratory” features an orchestra of glass containers filled with mysterious fluorescent fluids, a number of shiny bowls, and boxes beyond number. Aided by his assistants and a monkey, he steps into a transparent cone and dazzles us with his amazing physics experiments: manipulating bowls, folding boxes in on each other and juggling with luminous balls that might represent planets or molecules – or both – making them chase after each other in spiral orbits creating a maelstrom of molecules and celestial bodies.
It sounds awfully strange, doesn’t it? And it is. But as strange as it sounds it does seem to work within the confines of the show’s elements when taken as a whole. The only drawback I found was the nature in which the number was placed into the show – little to no explanation to his number’s purpose – and the number’s unabashed borrowing from the Blue Man Group. Otherwise, it’s a mind-boggling presentation that will ensnare your senses!
HOOPS DANCER (PART 2) & ROLLER SKATES
The “Scorpion Bridge” gets a workout after the Scientist departs, becoming the prow of a boat for our set of clowns, as they ski the open waters. The boat later rises to become a plane in flight, then finally a rocket taking off for the stars above.
Then, surrounded by members of numerous Human tribes, the Amerindian artist from earlier makes a gallant return to create new figures for us with his five hoop-rings. “Ney, nah-nah, ney-nah ney-nah” they chant, as the dancer concludes his routine with a globe that he raises high above his head.
The dancer is replaced by the soft sailing of a Native American canoe, traversing the high waters of a mountain stream. In a scene that evokes a wedding ceremony amongst the snow-filled mountains of winter, a pair of roller skaters spins and whirl at heart-stopping speeds atop a tiny platform – just 1.8 meters in diameter – shaped like a ceremonial drum.
Definitely a WOW moment.
RUSSIAN BARS
Humanity has finally reached the stars, as The Cosmonauts show us upon taking the stage in the show’s grand finale. Wearing colorful costumes inspired by the lost Mayan, Inca and Aztec civilizations of South America, ten artists perform feats of strength, balance and acrobatic movements on the Russian Bar. The jumpers are launched into the air and fly weightlessly across the sky like cosmonauts, leaping from one bar to the next with astonishing agility in a thrilling evocation of Man’s desire to escape the Earth’s gravity and constantly go above and beyond their design.
Walking on stage like a group of soldiers, I couldn’t help but think of them as Lego Space Men with their helmets illuminated and their costumes glowing in the black light. In fact, the Cosmonauts (aptly named) are wearing two costumes in one: when they first appear (under black light) their body-hugging Lycra suits glow dramatically but as soon as the stage lights kick in, their look is completely transformed. Some wear printed motifs that recall Mayan drawings and each of the artists is wearing an individual variation on that theme. The costuming is definitely not something you’d expect – I certainly didn’t – but it does fit within the confines of the number’s presentation. And in case you weren’t sure the performance was taking place on the moon: a lunarscape is projected on the “island” and a rising Earth and star-field projected behind them.
The performance here, while definitely taking on that WOW factor (the skill of the artists are unmatched; most of them are Russian Bar alums from Alegría), it also earns a WTF (for the costumes). What exactly were they thinking?
The show ends on a very high note, culminating with a fantastic dance number featuring all of the cast and characters. I’ve come to understand the choreography is actually a Native American dance performed to call forth the positive energies that surround the dancer. It works because you’ll definitely clap and sing along!
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Ladies and Gentlemen, my review of TOTEM is by no means comprehensive. I’ve focused mainly upon the show’s theme, some of its costuming, but most importantly its acrobatic numbers. I’ve not yet even touched on the show’s music (which is fantastic, btw) or most of the clowning (which, sad as it is to say, was forgettable to me). As such I urge you to see the show in Montréal or Quebec City before it crosses the
ocean and traverses Europe to gain your own opinion. TOTEM is a strange mixture of WOW + WTF but it’s one hell of a ride through human evolution I can’t wait to take again!
